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  @sammiejones5996Күн бұрын

  I was about to type 'this is exquisite'. And then you spoke that word. I couldn't come up with any other word that was more profound. On top of how beautiful it is, it's a culture that we don't see much of in sculptures. It's very real feeling. And, exquisite, of course. I'm so touched that you share all of this with us.

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  @theegreatest72Күн бұрын

  Absolutely incredible 🎉❤

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  @jadejago7664Күн бұрын

  I like to use ceramic plates as pallets.

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  @sammiejones5996Күн бұрын

  Have no idea how to determine what frames to choose. Mom's were those large sizes like you see at art museums. The frames you show are so fun. Yet ...Ive toned down to plain ole black... Cuz i dont know what to look for....

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  @denkerdunsmuir3370Күн бұрын

  When I'm on art social media/online sites, I always post encouraging, positive remarks and share some of my experience with newbie time and practice / exercise. habit development. However, I need to start receiving critique and to do so I have to pivot to specific remarks where formatted for that. Thinking about it gives me the willies -- I would not want to hurt or discourage anyone -- however, student art -- including mine-- is just that: Student art presented for learning purposes. All that said, I'd like to stick with my reactions to the artist's handling of the 7 basic elements of art, how I was impacted/effected and my thoughts, if any, about what the artist might do more, less, or include/eliminate. My justification for comfort with this approach has to do with how this non-musician listens to music -- lyrics, vocalization and arrangements. I am an active listener. I get into the words, the sound, the rhythm -- the vibe. When the piece is off in production values where the background is drowning out the vocals and lyrics, or the arrangement was haphazardly put together and is missing content I'm adding as I listen -- that's a red flag or a cautionary sign. Much the same would be my approach at Discord if I can ever get my devices to allow my joining art prof channel there. lol. My question: This seems to be how all of you interact together to critique/encourage each other to greater mastery of your skills and development. Correct?

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  @marielouiseweeksb33attitud33Күн бұрын

  I use my fan brush for blending mainly.

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  @SomethingImpromptuКүн бұрын

  Ahh that green brush you use 6-8 seconds in looks just like one from this old set of… I hesitate to even call them “student grade” brushes… I think they’re a set of children’s brushes that my mom had, maybe from my childhood… I’m pretty sure the brand is literally Crayola or something similar, or maybe I’m getting another one mixed up with the set I’m thinking of… But lately, I’ve been using some of them again (there’s a red one in particular, similar golden-colored ferrule, like a small round but with all the bristles cut straight across at the same length so that it works almost like a rigger/liner brush, but with medium length bristles that are probably about an inch long, & I love the thing). I have a significant number of brushes at this point, including a few really nice ones, but I find myself coming back to these absolutely throwaway quality synthetic Crayola baby brushes too, so I absolutely understand where you’re coming from. I don’t know if you’re using acrylics or oils (in oils I find that I definitely need a much more specific & more expensive kind of brush), but it’s in acrylics that I really love using these cheapo brushes… I think you’re right that it probably does have to do with the fact that you’re using them like watercolor brushes, because I also do that a lot, & I’m certain that the big reason I started gravitating back to that red brush (which may literally be from the same set as your green one, because there’s a green one with it that looks pretty identical) is precisely because it is one of my favorites for how it handles extremely diluted acrylics. The synthetic bristles are heavy duty enough to survive acrylics well, but it’s size & shape make it perfectly suited to fill this particular niche… It’s small enough that I can do pretty precise detail work with it after blocking in, but it’s big enough that it fills in small shapes much faster than my set of cheap rigger brushes, which I like for the finest details… And because it’s shaped like that, it’s perfect for dabbing color in wet-into-wet, & releases paint in very predictable, controllable increments when used that way (it seems to hold a decent amount of water for its size, but it isn’t like a crazy squirrel-hair watercolor brush, where it holds SO much water that it can be deceptively easy to load with a LOT of water, & then as soon as you dab it into a wet surface it dumps way too much paint- they’re good for covering big areas in a single stroke, but they’re excessive for dabbing just a little in at a time, & I suspect acrylic would be pretty rough on natural squirrel hair anyway)… When it comes to actual watercolors, I tend to use actual proper watercolor brushes, & more specialized ones (a hake brush & a mop for big washes, a quill brush that I looove instead of rounds for the most part, etc.)… But when using acrylics in a watercolor-like fashion, these cheap synthetics that handle diluted paint well really are brilliant. I’m glad to know I’m not the only one finding use in these! I’m curious… If you also like to paint this way, what kinds of grounds/painting surfaces do you like to paint on? It may interest you to know, if you haven’t tried it: for painting acrylics in a watercolor-like fashion, doing a lot of wet into wet & stuff like that, my absolute favorite product has been Golden’s Light Molding Paste. I tried it originally because I was doing a lot of experimentation with highly textured/structural paintings… But even if you smooth it very flat, I find that it is more absorbent & has worked better for me than any other “absorbent ground” or “watercolor ground” (I don’t know if I’ve gotten defective batches, but I’ve been very disappointed with all of those that I’ve tried). More precisely, if you can find the right proportion of Light Molding Paste (which is very airy & can be a little hard to smooth/texture on its own (it tends to break up in a weird way if you “overwork” it) to a bit of normal gesso, THAT mixture, to me, is the ideal ground for mixing water with acrylics, or other similar fluid media. The gesso makes it way easier to work with while preparing the canvas (way smoother & easier to spread flat; it also creates a ground which is VERY good for doing subtle, fine-detailed texturing, if you’re trying to texture close to the surface of the canvas/panel rather than making big structures- it holds its form beautifully), but the Light Molding Paste also really contributes its absorbency, & within that ideal window of proportions you can get a “best of both worlds” situation. Smooth, durable, but holds its form & absorbs wet media perfectly… It makes for a painting experience which is considerably more like painting on watercolor paper (except with as much or as little texture as you want) as opposed to a solid, non-absorbent gesso, where it’s more like you’re just staining the surface layer, & if you use too much water you can easily get weird effects depending on how the pigment settles when it dries… If I’m using a different medium, where I do want a nice, hard, rigid, non-porous surface, I also really like the results of mixing some gesso with some of Golden’s Hard Molding Paste, & recently one of my go-to workflows has been to start with the usual thin layers of gesso (just for the adhesion of everything that follows), then one main layer of either pure Hard/Heavy/normal Molding Paste, or one of those mixed with a very small amount of gesso, for the structure (if I want any thickness & heft to it, any major formations, I’ll do them then, but usually I stick pretty low to the canvas, for durability, storage, & to avoid wasting unnecessarily vast amounts of molding paste). I do any texturing I deem necessary for that structural layer, then I’ll let that fully dry… I may add a little more structure if I’m not satisfied, or I may add any pumice/sand/any other textural elements, & then I’ll typically apply a layer or two of gesso just to cohere everything I’ve done so far into one solid paint film & make sure it’s adhered to the canvas/panel. Then, if I’m planning to employ that kind of watercolor-like diluted acrylic method (I prefer to use fluid or high-flow acrylics for that most of the time, but that varies), at this point, with all the texture-work out of the way & however much gesso I’m going to apply already dried, that’s when I’ll apply the final, pretty thin layer or two of Light Molding Paste (with or without some gesso mixed in). This way, I don’t have to unnecessarily waste a bunch of Light Molding Paste just to add bulk/structure, so it goes a nice long way, & as a surface coating it provides all the absorbency I want. I will say, it takes a little getting used to, working this way, because (for example) the Light Molding Paste is pretty thick (gesso thins it a little, but not much, & you do want a good thick layer or two for absorbency), so you have to kind of be thinking about crafting your textural details in a way where they won’t just be filled in/covered up entirely by the Light Molding Paste layer(s)… For example, if you use pumice/sand, those gritty textures can easily get filled in by the Light Molding Paste to where they no longer show through, or look quite different, so you may have to either add it tactically AROUND those areas & accept less absorbency where the grit is (or only partially cover it), or you can try holding off on it & mixing some directly into/embedding it onto the surface of the LMP layer… There are various options/workarounds, but it’s just important to be conscious of the additional thickness it adds so you don’t spend hours on very intricate textural detail & then spread some molding paste over it & end up back to a totally flat, smooth surface. If the details are large-scale enough then you can spread it thin & still have them show through, or (especially if you use a mix of LMP & gesso, you can do the fine details on that final absorbent layer, which can produce some cool effects, as any areas you scratch away, where the absorbent LMP layer is thinner can potentially tend to absorb less paint… One last note is that, working this way, I find that sometimes you need a number of thin washes to achieve the full acrylic saturation you’re aiming for. Since this stuff is very absorbent, sometimes a single wash will absorb, but won’t fully saturate the ground, so it will have some sort of grayish/whiteish areas of lower saturation, & at first that can be alarming… But actually, I have ended up really liking that aspect, because it makes it more of a watercolor-like process (it’s quite a bit like the white of paper showing through when you use a diluted watercolor wash, & how you might want/need to glaze over it with the same or another color, maybe get some optical blending going), where you’re having to build it up wash after wash, which gives you a lot of opportunities to really think about what pigments you want to fill in that material with until it’s nice & vibrant. Given that you seem to usually work on very smooth, flat surfaces, this may or may not be of use to you (I do recommend at least trying LMP as an absorbent ground, even if you just apply it thinly & flatly, just to give yourself a suitable wet media surface, but you might have no need of Hard Molding Paste or whatever). But I’ve been really enjoying working this way, so just thought I’d put it out there, to whom it may be of interest!

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  @shortyangel2010Күн бұрын

  I know this isnt the point, but i like the one with jack with the beans reflected in his eyes --it adds a lot of pressure! I like it! Its kinda scary

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  @inali_illustrates9142Күн бұрын

  love the bloopers at the end!

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  @revondamehovic3132Күн бұрын

  As long as you're giving the brushes a proper burial. Otherwise they will probably haunt you

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  @Rat-teaКүн бұрын

  What is her name?

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  @nancyjones6949Күн бұрын

  It's called a chip brush .

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  @feralbutcute9536Күн бұрын

  I always gravitate to the cheaper brushes. Those hardware store brushes can be really fun to play with and get cool textures

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  @visualsweetsКүн бұрын

  Great. I’m getting to reduce my art supply hoard. Now I have to keep my cheap brushes because they may come in handy.

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  @9acidthingsКүн бұрын

  Wow!

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  @Avi_Z.Күн бұрын

  I love her art. Her strokes remind me of Van Gogh, short and purposeful. Perfect choice of colors. Exquisite

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  @raeb5525Күн бұрын

  ❤

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  @cleols5433Күн бұрын

  🙏🙏❣️

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  @nunyabiznuss7464Күн бұрын

  Thanks!

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  @revondamehovic3132Күн бұрын

  Quin for the win!

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  @Queen_NyxieКүн бұрын

  Brilliant colours! Plus, now I have a reason to haunt my local Blick again.

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  @DreamWolfProductionsКүн бұрын

  Golden paint!! I love Golden. When I was in high schoom, we got to tour their factory! It's a great experience if you ever get the chance to go!

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  @rnkim2564Күн бұрын

  I'm seeing there's a likeness/ contrast in the 2 portraits... but everything, even the line of the body in the wylie piece is not in any way like the Gainsborough which is elegant in all areas of execution... I guess its a nod to the direction of new portraiture in contrast to gainsborroughs time but wylies was "based on blue boy"? I'm not seeing it at all other than " full length portraits"

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  @Avi_Z.Күн бұрын

  Thank you! 🙏 💖

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  @ArtyStringsКүн бұрын

  What you and your staff do for us, Professor Lieu is so so incredibly valuable! I'm so greatful. I'm learning everything I DIDN'T learn in art school (which is a lot).

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  @beans9288Күн бұрын

  The ‘I don’t wanna think about it corner’ is embarrassingly relatable… love it

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  @ArtyStringsКүн бұрын

  Working from life is everything! If you have a photograph (unless it used as a reference contextually), why draw it if you have a photograph? I have a hard time drawing from photographs because sometimes it flattens out my work if I''m not very careful. Figure drawing with live models is the ultimate to me. I loved doing this challenge!

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  @EunieMakesArtКүн бұрын

  That’s it it’s not cultish it’s community ish . I’m doing Milan and I’m learning but I feel stunted there because woman hero/wild animal genre not my thing lol so feel that’s all that gets noticed there… but their courses have helped me learn a lot but doesn’t feel as inclusive

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  @EunieMakesArtКүн бұрын

  I love Art Prof because it is the only community that is truly inclusive and supporting each other when I’m engaging in any aspect of this group never feel too old too inexperienced no clique feelings no art snob vibes and the critique is always leaning towards constructive. I don’t feel sold either but can’t wait to be able to do more paid areas in the community even when a video is not my genre I always learn something I can use in my own practice in short…worth my valuable time

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  @ivaart12Күн бұрын

  I started on a large canvas and am now feeling intimidated and kind of scared, and I am psyching myself up to complete it! 😅 I hope I do justice to it! Your videos are so motivating and I have found so many answers to a lot of my questions...Thank you!❤

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  @EunieMakesArtКүн бұрын

  Thanks for being a REAL help not a financial trap

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  @EunieMakesArtКүн бұрын

  In life drawing your brain is more informed

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  @EunieMakesArtКүн бұрын

  Life drawing uses all the senses to communicate the scene or subject

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  @EunieMakesArtКүн бұрын

  I buy golden when sales are on build out my stock

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  @EunieMakesArtКүн бұрын

  I just joined Clara’s art adventures because it’s like an artist “ride along’ lol

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  @EunieMakesArtКүн бұрын

  I love this community because they encourage expanding your experience on multiple levels

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  @EunieMakesArtКүн бұрын

  I got plans 😂lol make that an Art Prof shirt lol

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  @AngieG112 күн бұрын

  If only I could stay up…lol.

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  @randomdude9352 күн бұрын

  This is so normal

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  @bandtasticsound2 күн бұрын

  I'm glad I'm not the only one using SkyFlakes containers for my tools! 👍

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  @anonofish5762 күн бұрын

  Hello Prof ❤

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  @julianlynn16822 күн бұрын

  I personally don't want the risk of heavy metal exposure in my studio. I don't use cadmium 'hues'. I use single pigment colors that are high chroma and make clean mixes. But it is good to see safety instructions on how to use these pigments. We should always stay aware that some materials in the studio are potentially hazardous if not handled carefully.

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  @artprof2 күн бұрын

  Watch more chill hangouts in this playlist: kzread.info/head/PLvt8_pMl6ywl0_waVIuIc3_GEATdVTw_2

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  @FauniTaxon2 күн бұрын

  Is the brush pen hardened in some way to make it more pen-like?